I recently interviewed Chris Goss who worked with Harvey on a couple of songs for the excellent DESERT SESSIONS album. He was full of praise for her and astounded at Harvey’s vocal quality and ability to improvise in both writing and performing. For me, her performances on that album were some of the best I have ever heard from her. She seems to have re-discovered her quite incredible talent after the last pop-influenced album, which disappointed me. With a pile of CDs to review, it’s perhaps worth noting that while Harvey’s was only received today, it automatically went to the top of the pile for review. That’s how good she really is, and the level of anticipation I feel when something special may be in the offing. And this is one very special record.

But first a bit of background information. Harvey played all the instruments with the exception of drums and percussion (played by Rob Ellis - long-time collaborator). As well as writing and performing all the songs, she also mixed and produced the album. So this record is as close you will get to the real, creative Harvey. As you might expect, introspection dominates the record but the style and diversity of what’s here results in Harvey’s finest and most adventurous recording.

Dark and doom laden The Life And Death Of Mr Badmouth opens this masterpiece with jagged, wicked beats and a perceptible blues influence. The instrumental backdrop is stripped down to bare necessities (a feature of the album) and the whole is devastatingly effective. Harvey’s mocking vocal is perfectly matched to the song’s angst-dominated sentiments (“Baby, you’re out for what you can get…”). Superb. Shame is a more upbeat number with simple acoustic guitar support and a distinct Doors ambience. Harvey’s vocal acrobatics are extraordinary as she proclaims, “Shame is the shadow of love…If you pass me by, such a shame, shame, shame…” An angry guitar opens the next track, Who The Fuck followed by a spitting vocal and ensuing guitar work which is nothing short of stunning. This is cutting edge music, and quite, quite extraordinary.

So far what I’ve heard has knocked me back in my seat but the quality and originality just kept coming. The Letter is to be the first single from the album but the song that should have been is The Slow Drug. With its strong melody, almost talking pace vocal and relentless keyboard flashes, this is perhaps the pick of potential singles here, and is incredibly beautiful.

I could describe each song here but suffice to say that Harvey has never been better and this is an album that places her at the highest echelons of international singer/songwriters. But perhaps the major achievement here is that Harvey has created diverse, intelligent, introspective and original music that is highly accessible. In short, it’s a modern rock masterpiece and a strong contender for album of the 2004.

5/5